Anneleen Lenaerts performed an hour-long solo recital with repertoire from her new album "Vienna Stories". Ten years ago, the newly graduated Lenaerts began the job of her dreams. To her great surprise, she was accepted as principal harpist with the Vienna Philharmonic. The album is a reflection of her musical adventures over the past years in Vienna. Both from various operas where the harp plays an important role, as well as symphonic works where Lenaerts cherishes special concert memories. It was announced beforehand that Lenaerts would not provide commentary between pieces. A shame, but the reason soon became apparent: it was cold in the Sint-Dionysius Church. Visitors kept their coats on, and between pieces, an attentive observer could see Lenaerts rubbing her hands together to keep them warm.The evening opened with Zabel's "Fantasy on themes from Faust by Gounod". Lenaerts impressed with her technical precision. It was clear that she was fully aware of the composer's intentions. Every melodic line was presented with stylistic awareness and meticulous care. It was announced beforehand that Lenaerts would not provide commentary between pieces. A shame, but the reason soon became apparent: it was cold in the Sint-Dionysius Church. Visitors kept their coats on, and between pieces, an attentive observer could see Lenaerts rubbing her hands together to keep them warm. This was followed by "Walther's Prize Song" from Wagner's opera "Die Meistersinger", in an arrangement by Hans Trnecek. Lenaerts demonstrated her gift for drawing everyone into the beautiful vocal lines of the piece. It was as if her fingers were singing in deep tones to the audience.

The program continued with a "Fantasy on La Bohème by Puccini" composed by Lenaerts herself. A tradition among influential harpists in the early 19th century to showcase the technical possibilities of their then-'new' double-pedal instrument and to expand the limited repertoire. Again, beautiful melodic lines and crystal-clear arpeggios. Even the pianissimo playing penetrated to the heart of the enormous church.

At the Moldau. Lenaerts imponeerde met haar technische precisie. Merkbaar was dat ze zich ten volle bewust was van de bedoelingen van de componist. Alle melodielijnen werden stijlbewust en tot in de puntjes verzorgd neergezet.

Daarna volgde “Walthers Preislied” uit de opera Meistersinger van Wagner, in arrangement van Hans Trnecek. Lenaerts toonde haar kunst om iedereen mee te nemen in de prachtige zanglijnen van het stuk. Het was alsof haar vingers in diepe tonen zongen tot het publiek.

Het programma werd vervolgd met een door Lenaerts zelfgeschreven Fantasie op La Bohème van Puccini. Een traditie onder invloedrijke harpisten begin 19de eeuw, om zo de technische mogelijkheden van hun destijds ‘nieuwe’ dubbelpedaal instrument te tonen en het beperkte repertoire uit te breiden. Weer prachtige melodielijnen en kraakheldere arpeggio’s. Zelfs het pianissimo spel drong in de enorme kerk tot in de kern door.

Bij de Moldau In Smetana's arrangement by Hans Trnecek, Lenaerts played all the flowing passages with such elegance that it seemed effortless. After the performance, a broad smile appeared on her face during the applause. It revealed perhaps a hint that the harpist was delighted to have brought this challenging virtuoso showpiece to a flawless conclusion.

As a finale, two original arrangements. "Song to the Moon" (from "Rusalka") by Dvořák, in which the harpist moved the audience with its emotional melody. And "Les Preludes" (S97) by Liszt, where Lenaerts beautifully showcased the intense, dark tonal colors in the lower registers of her instrument. After a standing ovation, Lenaerts returned to the stage for an encore. Suddenly, she revealed a completely different side of herself and dazzled us with pedal slides, nail glissandos, and jazzy timing. After our 'journey' along Lenaerts' ten-year anniversary in Vienna, this was a refreshing finale. The harpist clearly has quite a few other talents up her sleeve!Anneleen Lenaerts (harp) solo recital featuring works/arrangements by Albert Zabel, Wagner/Trnecek, Smetana/Trnecek, and Lenaerts herself, among others Sint-Dionysius Church, Kapellen

Saturday, January 8, 2022

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